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Search Result for Artist tom carter
viewing 1 To 12 of 12 items
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2LP
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MIE 027LP
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"Tom Carter and Pat Murano, two figures with decades of history behind them, offer Four Infernal Rivers, their new double long player. Four Infernal Rivers illuminates their interlocking styles in a light that blurs their individual identities. The music breathes its own life, and consistently eschews the normal meanings of its own potential descriptors. To think and act intuitively across 80 minutes in real time, without falling into boring or wasteful modes, should be taken as a remarkable accomplishment. The album title is as descriptive as it is suggestive. 'Four' is the number of tracks. Easy. 'Infernal.' It's a harder one to parse out, harder still to live up to, yet the record's hellish qualities come from the fact that it seems like it could never end. Its fiendishness stems from a tone which is consistently ominous and ever-portending. 'Rivers' is spot-on. Close your eyes, draw up an image of a river, and the music pulls instantly into focus. It's not so much a soundtrack to a film or a scene, but rather an auditory evocation of something that is ever-present. To invoke water is to invoke the most crucial ingredient of life (insofar as we describe it) on this planet. A river is one and many things, an aspect of a system larger than itself, full of majesty and terror. One need only think of the rivers of Herzog's Aguirre or Fitzcarraldo, of Conrad's Heart of Darkness or Ballard's The Day of Creation, to understand the gist of what is being presented. The rivers forged by the duo are menacing and imposing, full of risk and danger. In an age when the entire aim of underground artists seems so geared towards either mimicking or revolting directly against the tides of mainstream culture, it is nigh-impossible to know where to turn. If this record has anything to say about it, it might be that the most valid instances of possibility are to be found in adhering to no preconceived method, in swimming with a current of one's own making. It sways between an understanding of musical history and a disregard for its confines. There is interplay that doesn't apologize for or attempt to live up to anything. It is music born of elements that have always existed and still cannot be grasped. Both spacious and immediate, moments exist either to be seized or to be let go. What might in another setting play out as a tension between dissonance and melody here lives entirely outside of those concerns. There is comfort and compatibility in this music, a sense that neither player would ever step on the other's toes, while still feeling the freedom to explore whichever tributary they might come across. Ideal traveling companions, then. 'It's after the end of the world, don't you know that yet?' June Tyson asked long ago. Some of us do and some of us don't. Those of us who aren't quite sure make records like this." --Matt Krefting, Easthampton, MA, April, 2014
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LP
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HTE 003LP
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This is the second release from the Halatern, Etc. label, run by Keith Connolly (of NNCK/No Neck Blues Band fame). Tom Carter requires no introduction (those who are curious are encouraged to visit the historically rich wholly-other.com). Of late, his Kazuyuki K. Null meets Franco Falsini excursionary instrumentalism has taken on an increased luminosity, due in no small part to some unexpected time spent at a certain house on the borderland. In his own words: "Information-inscribed ribbons unravel from a spool spinning into relaxed entropy. Floating smoke-scrap phrases dissolve before the awakening namer; whispers of causation refute a dozen irreal plot lines, showering text onto re-emergent reality as a deeper narrative retreats to a place hidden from scrutiny. I am awake, and you are here with me. Holding our hands before our eyes we stare skyward, light leaking through our fingers, rays shift and rearrange as we flex our fingers. The beams emanate from within, not without; the light pours out of our eyes, animating all we see, bearing the unbearable heat in us. These memories intertwine with 'reality' in a way that's impossible to parse. One night not so long after my return, I attempted to transcribe them in the only sensical way, via degenerating melodic and harmonic arcs, free of the inevitable collapse of language. These recordings are the result." The recordings he speaks of comprise Numinal Entry, the second LP released by Halatern, etc. The sounds contained therein offer a glimpse of something slightly outside of living experience, something slowly holy, and something eternal. Edition of 300 copies.
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LP
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KEL 014LP
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Tom Carter and Pat Murano (Decimus, No Neck Blues Band, etc.) first began to play together at the behest of Jason Meagher, to be recorded as part of his Natch series. These recordings were captured during those same sessions on March 17, 2012 up at Black Dirt Studios. Here's what Jason had to say about the session: "We could talk about an improviser's ability to listen to the other players around them and how important it is to crossing the line between jamming and spontaneous composition. But instead, we should dwell for 49 minutes on the idea of a person being at the top of their game. It is not an expression used in music very much, but it applies here. A musician can have many peaks at various points in their relationship to sound. At these moments, they are masters, wizards, conjuring other worlds almost immediately. This session documents a moment when two such musicians crossed paths." Limited to 300 copies.
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LP
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MONO 012LP
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Tetuzi Akiyama: guitar, electronics, viola, and self-made instrument player. Born in Tokyo, April 13, 1964. Tetuzi Akiyama is a highly unique and experimental guitarist heavily applying free improvisation and noise. Besides guitar, he also plays electronics, viola, and self-made instruments. Akiyama became an enthusiastic hard rock fan when he was 11 years-old, and started playing electric guitar at the age of 13. Later, he also came to be very interested in free improvisation and classical music. Tom Carter: born barely south of the Mason-Dixon line, and just in time for the Summer of Love, Tom Carter led a decidedly non-hippy existence being shuffled around various farm and mining towns in Maryland and Ohio by his newspaperman father, before finally making his way to Texas in 1985, just in time to watch all the good hardcore bands die. Already obsessed with American pre-punk and British post-punk, Carter dove into the lysergically spiked musical waters of Texas with both feet, augmenting rudimentary guitar skills with unreliable instruments, cranky analog electronics, and disintegrating practice amps. Over the ensuing decades, he managed to forge his evolving ideas of complete tonal immersion (and the quest for the perfect fuzz tone) into a layered sonic toolkit of rough beauty and unrefined proficiency. Best known for his work with acclaimed iconoclasts Charalambides, which he co-founded with Christina Carter in 1991. Christian Kiefer: began his life in the arts through a fascination with the written word. This fascination is reflected in a long line of publications. His poetry and fiction have appeared in many of America's most prestigious literary journals. He is the author of three novels, the most recent of which is Out of Iron.
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CD
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PRE 013CD
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2007 release. The Preservation label presents Monsters Of Felt, the third collaboration between Tom Carter and Robert Horton. Robert Horton's musical exploits are diverse, heady and spans over three decades. From his early punk days to joining various groups in pursuit of free jazz, drone and even psychedelic hillbilly, Horton is happily hard to pin-down. He also makes his own instruments. One found regularly across the 30-plus releases he's been involved with since 2005 is the "boot," a four-stringed instrument that plays like an otherworldly dobro or slide guitar. Tom Carter has been a lightning rod-like figure for the American psychedelic, folk and experimental underground scenes since forming one of the country's central cosmic travellers in Charalambides. Carter has since spread his wings into solo work and collaborations with the likes of Bardo Pond, Tower Recordings and Sonic Youth's Thurston Moore. However, it's the pairing with Robert Horton that emerges most frequently in his busy schedule, as they continue to foster their pairing into a singular kind of chemistry. This album hits a zone both fierce and lulling at once. The radiating undertow of Horton's sonic manipulations -- including sound sources from cassettes, field recordings, computer, bass and the "boot" -- accompanies Carter's re-routing of American guitar traditions into mantras of trance and white light. The set also features appearances from kindred spirits and free-folk favorites Brad and Eden Rose, along with Eastern instrument journeymen Henry Kuntz and Michael Shannon. It all adds up to Monsters Of Felt being yet another exciting step for two most intrepid musicians. Limited edition deluxe packaging featuring unique, award-winning design.
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CD
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PRE 017CD
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2008 release. This second collaborative work from Tom Carter and Christian Kiefer is an expansive and ambitious recasting of American music now in the public domain. The influence of the songs collected here is long and widespread for their style and lyricism, forging a rich tradition and ever-evolving history. With their interpretations, Carter and Kiefer have taken the songs that have seeped into their souls and extended upon them in such a way that brings something entirely new to their original ideas. It's something that's entirely theirs in spite of such source material, and with that, From The Great American Songbook brilliantly reveals a true hallmark of American music invention. So, we have the infamous murder ballad "Pretty Polly," the comic "Camptown Races," the funereal "Will The Circle Be Unbroken," the outlaw tale of "Jesse James," the depression piece "Hard Time Killin' Floor Blues," the ragtime "The Entertainer" and the doomed love trysts of "Go Dig My Grave (Railroad Boy)" and "The Coo-Coo Bird." Carter and Kiefer have taken the spirit of these as a starting point for their spectral guitar improvisations, then fleshed them out with piano, percussion, bass and drums. In this thrillingly vast sonic terrain are moments of foreboding, tenderness, melancholy and gut-wrenching rawness. Two of Kiefer's longtime cohorts, Scott Leftridge and Chip Conrad played bass and drums respectively, while Califone's Ben Massarella handled percussion. Also contributing is a host of American musicians including Tony Conrad, James Jackson Toth, Glenn Jones, and Sharron Kraus. Christian Kiefer is a musician and songwriter with a varied and prolific history. His 2007 album Dogs & Donkeys featured the talents of Wilco's Nils Cline, Low's Alan and Mimi Sparhawk and The Band's Garth Hudson. Tom Carter is a member of Charalambides and similarly engages himself in many collaborations, including work with Thurston Moore, Bardo Pond and Robert Horton. Liner notes by Tony Conrad, Tim Rutili (Califone), James Jackson Toth (Wooden Wand), Tetuzi Akiyama, Sharron Kraus, Byron Coley, Sean Smith and Glenn Jones (Cul De Sac). Limited edition deluxe packaging featuring unique, award-winning design.
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LP
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BRR 145LP
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"Crazy 3-way collaboration from some of America's best underground musicians. Charalambides' Tom Carter is joined by Shawn McMillen, sometime member of Warmer Milks and Ash Castles On The Ghost Coast, with the added power of Starving Weirdos. This two track collaboration has been around since 2007 and it landed in my mailbox a few months back, and man, it's a real beauty. Side A is a total hypnotic slice of ravaged drone, the four musicians seamlessly blend their own styles of underground bliss outs to sheer perfection. Side B opens with a crazy loop of applause, waving back and forth with a growing repetitive plug-in to then opening it up to create new levels of total sonic weirdness. Slow shimmering black chasms engulf the positivity until it's awash with lo-fi scrapes and buzzing electrical nightmare. The loop eventually drops back in with total far gone chimes, jingling away at acid burnt psychedelic keys and a thundering bass loop. A totally bizarre jam, which just opens more potential ventures up for these artists. Hopefully we'll see more from this collaborative team soon. Limited to 400 in pro-printed wraparound sleeves."
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LP
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WHOLLY 015LP
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"Brand new 2009 recordings of galactic guitar ooze, laid down in NYC USA, and drawn from the same vertically stacked west coast psych loopage motherlode that spawned earlier recordings like the pair of Shots At Infinity releases on Important Records. Hand silkscreened gold or white techno tantra artwork on matte black covers."
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CD
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IMPREC 202CD
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"This is the companion release to the Tom Carter LP titled Shots At Infinity 2 being released on Important simultaneously. Shots At Infinity 1 (the CD) is comprised of recordings from various basements in the northeastern USA from late 2007. Steering away from the more delicate string environments and modal folk improvisations of previous CDs, the disk features maximum loop delay drone overload stretched over long, densely harmonic tracks, retaining the melodic content and flow of earlier releases."
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IMPREC 203LP
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"This is the companion release to the Tom Carter CD titled Shots At Infinity 1 being released on Important simultaneously. Shots at Infinity 2 is two long live tracks in the same mode as Shots At Infinity 1, but more cut loose and blown out, recorded in Nemo Bidstrup's record store and Burnt Hills' basement jam zone. Tom Carter is a guitar player best known for his work with acclaimed psych-drone iconoclasts Charalambides. Since 2000, however, he has become increasingly active as not only a solo artist but as a collaborator. He has performed with improvising musicians as diverse as Thurston Moore, Jandek, Tetuzi Akiyama, Matt Valentine, and many others, as well as being a key member in groups like Badgerlore (with Ben Chasny of Six Organs of Admittance), Friday Group, Mudsuckers (with Robert Horton and the Yellow Swans), and Zaika (with Marcia Bassett of the Double Leopards and Hototogisu). Carter's solo work covers a lot of territory, but latter-day sightings show him to be concentrating on looped guitar drones of immensely stacked beauty, with heaps of psychedelic melodic content missing from the repertoires of many noise and drone bands. His influences include everyone from LaMonte Young to David Crosby."
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CD
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IMPREC 069CD
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"Lunar Eclipse was culled from over 30 hours of recordings taking place, inadvertently, on the equinox, lunar eclipse and winter solstice of 2004.The duo of Tom Carter (Charalambides) and Robert Horton sound as if they are channeling the natural power of these significant calender days into the music. They both noticed something special was happening during the initial recording session when they looked at a clock and realised that they'd been playing for over 5 hours. Throughout the album Carter slowly plays louder and more powerfully than usual over drone-master Robert Horton's organic & electronic chimes, drones, jangles, dangles and splendor. The result is a vast, expansive sound cavern full of hidden melody, slow drones, textured tribal gong and hidden mystic rhythm."
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CD
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KRANK 070CD
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"Monument is a recording of guitar music from Tom Carter of Charalambides and is the second in a series of Charalambides-related reissues by Kranky. The two tracks of solo lap steel guitar were recorded live to DAT by Tom Carter a few days before a live performance in March, 2001. Monument was originally released by Wholly Other in an edition of 55 CDRs. The first track, 'Monument 1 (Memorial)' is slightly longer than two minutes and barely reveals itself. The second, 'Monument 2', is 47 minutes in length and considerably more expansive and louder than the opening cut. The album was made using lap steel guitar, glass slides, digitech tsr-12 stereo reverb, a rat distortion pedal and craftsman screwdrivers."
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viewing 1 To 12 of 12 items
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